Talent Campus Guadalajara 5
FICG 28
Talent Campus Guadalajara 5
FICG 28
12
13
For thisnewcinema itwasaconcern tofight and
look for asolution tooppression, tosocial and
economicempowerment bydominant countries,
tofix thedeformpictureof LatinAmericamade
by foreigncolonistsandnational bourgeoisie. A
picture far away from realityof apoor continent.
So thenewcinemahad to insist on representing
aLatinAmerican reality, look for thoseaspects
whichhadnever beforeexploredor hadbeen
ignoredbycommercial cinema; itwasadifficult
taskdue to itspoormeans, but that situation
forcedcreativity toexperiment andgaveachance
to improvisation inanarrative full of originality,
talent, vitality, culturalwealthandhistorical
diversity. That ishow thiscinemabirthasamirror
of our hungrybut exuberant realitydeveloped
under thesamescheme: “Imperfect cinema”
or “Thirdcinema”. Acommunityof nations; a
product of ahistory, aculturewithempathic roots,
analmost common languageandempathyof
historical struggle.
General
Information
But,what happensafter this“newcinema”?
Thiscinemahasevolved; the technique isnot a
problemanymore, not onlydue toall the resources
that somedaywereunreachable fortunes, but
also for thedevelopment and improvement of our
filmmakers- the representationof aestheticof our
peopleon thewidescreenhasbeen reinforced
andour storiescontinue tobeas rich, asdiverse
andas interesting thanbefore.Nowadays, Latin
filmmakersdonot seefilmmakers fromother
culturesasadistant hegemonyapart fromour
reality, asenemies; theydon’t fear thepollution
of imperialist cinemaor thepreviousanti-power
ideology, our filmmakershavehad thepatience to
proof that it isnot adogmaticmust to reject and
demonize the formulasand receiptsof “imperialist
cinema” to tell our ownstories. LatinAmerican
tookasweapon itsownneed.Our povertyof economical resourcesand the lackof solid institutions
toencouragecinema, iswhatwenowknowascreativity,which isnot answerable toanyone, it
doesn’t followconventional imported rules; it isour land, it isour diversity, our formula toexpressand
outstandingcinema.
Filmmakershaveevolved; theyhave learned to tell local stories, particular
toeach region, they reflect theunityof aLatinAmericancontinent, and theyalsoarouse
interest inanyother foreignaudience.
Theseare individual stories that becomeuniversal. They
belong to thecommunity. It isabout an intimatepolitical cinema.Our filmmakerswill useall the tools
andknowledge to transmit their ideas,without layers,without exclusions, acinema full of vitality,mean
tobecompletelyof our own.
Aconstant researchof identityasan individual, but alsoasaLatin
Americanheart, expresses inauniversal affinity.
Thefiftheditionof theTCG is focusedon improving thecinematographicnarrativeof theyoung
filmmakersof LatinAmerica,whoarewilling to tell their local, regional intimateor exclusivestory to the
others to reachauniversal understanding.Ourmain topic:
Privatestories for theworld.
In the 1970’s arose a new kind on cinema in Latin America, in
that time the entire continent struggled through social activism
and popular movements to achieve national liberation: it was
a time of battles and demonstrations to recognize and protect
cultures and idiosyncrasies which were also reflected in arts and
the big screen was not an exception, all those topics and narrative
styles arrived to the theaters.
PrivateStories for theWorld
